A time-tested formula gets tantalisingly tweaked in Friends with Benefits, in which Justin Timberlake and Mila Kunis attempt to confine their relationship to the purely sexual without the ick factor of emotions getting in the way.
After 10 minutes in the company of Fright Night’s vacuous US teens I was thinking, like Colonel Kurtz, “Kill them all!” One of the several virtues of this remake of the 1985 vampire horror-comedy is that its writer, Marti Noxon, feels the same way. Partnering this Buffy veteran with Craig Gillespie, the director of sensitive man-and-sex-doll romance Lars and the Real Girl, makes this deeply unpromising entry in the current cycle of Eighties horror reboots surprisingly engaging.
Warning to hunky French jazz pianists: beware a slim, raven-haired Englishwoman who looks like Anne Hathaway but goes by the name of Emma and will up and leave you the second her long-standing chum, Dex, crosses la Manche to extend rather more than a main by way of welcome. Sound unfair?
A Better Life is Bicycle Thieves remodelled for modern LA. Vittorio De Sica’s iconic 1948 film about an Italian father and son living over a precipice of poverty sadly requires adjustment only in its details, the theft of a bicycle the father needs to seek work here updated to a stolen truck.
Wage-slave purgatory in three different flavours is the subject of Seth Gordon's comedy, as his trio of downtrodden leads decide that the only way to break free from remorseless professional abuse is by murdering their respective bosses. George Cukor this ain't - in fact, Gordon has succeeded in making Carry On up the Khyber look like a revered art-house masterpiece - but as long as you leave your brain in "Park", there are just enough laughs to drag you to the closing credits.
In the days before there were any paparazzi to catch celebrities unawares, the pictures of the stars that reached mere mortals like ourselves were carefully staged by the film studios. Establishments like MGM, Warner Bros and Paramount Pictures employed stills photographers to produce atmospheric shots of the action as it unfolded on the set and to make studio portraits of individual actors for release to adoring fans.
Interesting movie news. Arnold Schwarzenegger, having wrapped up his term as governor of California and pretty much completed the bankrupting of the state, will be taking time out from impregnating the payroll to return to the day job: making movies. The film is to be called The Last Stand. Make of that what you will.
So. That’s it then. It’s taken just shy of 20 hours to work through the lot, a gestation spread across a decade. Every British actor in the firmament has visited the Leavesden set to chew on some of the computer-generated furniture. Several trillion techie hours have been racked up on achieving SFX which wouldn’t have been even a twinkle in a geek’s eye when JK Rowling first conceived the seven-part tale of a boy wizard. And a trio of young actors cast before puberty have missed out on a decade’s worth of regular schooling.
Do you know where your teenagers are? If they're smart, they'll be somewhere watching Trust, the sophomore directorial effort from actor David Schwimmer that turns out to be as deftly compelling as it is unnerving.
In its second year under creative director David Ansen and in its new home at the LA Live complex, the Los Angeles Film Festival seems to have recovered from the slightly rocky start of its downtown debut last year. While one or two of the several hundred volunteers still seemed to be in it for the free T-shirt, most were clearly film enthusiasts themselves, eager to swap tips with patrons about screenings and potential sleeper hits.